Product Details

• Amazon Sales Rank: #11016 in DVD
• Released on: 2006-10-23
• Rating: Suitable for 15 years and over
• Formats: PAL, Widescreen
• Original language: English
• Number of discs: 1
• Running time: 107 minutes

Synopsis
Approaching the legendary German classic 1922 film NOSFERATU: EIN SYMPHONIE DES GRAUENS by F.W. Murnau with his own unique sensibilities, Werner Herzog establishes a link between himself and the classic days of German cinema and in the process crafts a lush adaptation as well as a classic in its own right. Stark, symbolic cinematography and intensely stylized performances create what Herzog refers to as a different plane of reality, injecting the age-old tale of Count Dracula with a modern sense of mysticism, desire, and wonder.
Frequent Herzog collaborator Klaus Kinski portrays the Dracula character with a silent intensity, tingeing the vampire's inhuman monstrosity with a deep sense of pathos and longing. Completing a stellar international cast are Bruno Ganz (a regular in the films of Wim Wenders) and French film star Isabelle Adjani, both giving subtle yet compelling performances as the formerly happy couple who fall prey to Dracula's lust for life and love. From the opening image of rows of openmouthed mummies and the repeated motif of a bat in slow-motion flight to beautiful scenic shots of European mountains and beaches, NOSFERATU is a visually stunning film, presenting visual tableaus taken directly from the original as well as those of Herzog's invention. The extreme stylization of the film recalls Herzog's similarly hypnotic and haunting film HEART OF GLASS--creating a wholly original film, that despite its differences maintains a strict and loving faithfulness to the original.

Customer Reviews

A REMAKE TO DO THE ORIGINAL JUSTICE
The vampire genre has seen its share of lackluster films. Indeed, the centerpiece of the grand tradition, the Dracula legend, has seen so many remakes and revisionist attempts that one would be hard pressed to find a version of the tale that is original in its telling. Dracula, like it or not, is a cornerstone of Western society. And it is wholly unfortunate that Bela Lugosi is considered THE Dracula (although Hammer fans may contend that Christopher Lee holds the title since he played the good Count over twenty times).

With Werner Herzog's "Nosferatu: Phantom der Nacht" (also known as "Nosferatu: The Vampyre"), the old Hollywood rules seem to have been thrown out the window in favor of F.W. Murnau's striking silent film, the 1922 masterpiece "Nosferatu: Eine Symphonie der Grauens" ("Nosferatu: A Symphony of Terror"). While many purists of the genre balk at the idea of favoring the Nosferatu tale over the time-tested Tod Browning and Terence Fisher entries, one must realize that the cape-clad widow's peak Count has been sullied by a thousand parodies over time, and is simply not a frightening entity any longer. This was a matter much pondered by Francis Ford Coppola when considering his adaptation. While Gary Oldman's portrayal was serviceable and definitely different, something key was lacking from the tale.

This is what Herzog and his long-time "trouble and strife" lead man Klaus Kinski found when they ventured upon the "Nosferatu" remake. Herzog shifted the attention of the viewer away from the plot, which acts mostly as a backdrop for the imagery, and made it so the primary intake becomes a visual one. Kinski's Dracula is not the scowling insect of the Murnau film. He portrays the Count in a way that no other actor has quite grasped. In this film, Dracula is a suffering being, loathing every moment of his curse's continuation. Of course, as the good Count himself states, "Young men. You are like the villagers. and cannot place yourself in the soul of the hunter." The vampyre is trapped by his instincts, and Kinski's eyes betray harrowing madness (as they did in "Aguirre, der Zorn Gottes"), spiteful malice, and a sorrow so bottomless it defies description. It is as if the beast wishes to weep, but has forgotten how.

Filming on location in Germany, Herzog uses the same dreamlike camera angles, mixing them with a rich color palette and masterful lighting. There is a certain uneasiness that filters outward from the screen as you watch. As Jonathan Harker explores his surroundings during his lodging at Castle Dracula, there is inexplicably a young gypsy boy incessantly playing a scratchy violin under the archway. The surreality of the picture is only matched by its attention to the dark magic of the vampire. Like its predecessor, it actually seems to believe in the creatures, and respects them. It holds the legend, the plight of the people of Wismar, and the plight of the Count himself in deep reverence.

What can be extracted from the dialogue and plot is that this is not your average bloodsuckers extravaganza. In fact, the good Count only sets his fangs to the throat of the living once on screen, and when that occurs, it lends more of a feeling of sacrifice and sorrow than of terror. Indeed, the tone of the film is driven toward tragedy, and does not shift its course. One of the film's more telling moments is when Dracula, alone with Harker's beloved Lucy, ventures to plead with the beautiful lady, "Will you come to me. become my ally? Bring salvation to your husband. and to me. The absence of love. is the most abject pain." When she refuses, he does not lash out or decide to make a meal of her then and there. He instead moans with the intonation of a wounded animal and slinks off into the night.

"Nosferatu: Phantom der Nacht" is the most complete of vampire films, and towers over the genre. It could be considered a pity that the only film that sits upon its coattails is its predecessor of the same name. Under Herzog's direction (wisely choosing to avoid remaking classic shots), we get an entirely different film that exudes an entirely different feeling. It not only maintains the eerie horror that the genre deserves, but also achieves a beauty and mystique that has been lost over the years. A must-see.

As good as the original
Yes I know the original is a classic. But no one said you couldn't try to improve. And Klaus Kinski (you should see him with makeup on) is a natural. I liked his rabbit teeth instead of canine fangs. The movie is not really gory. It is more suspenseful. The script is tight and when you get in to it seems plausible. Everyone thought that the plague was bumping off people. Although the real victim was Nosfaratu who just wanted to be human and love and be loved.
Bottom line don't let the Lucys (Isabelle Adjani) of the world distract you until the cock crows. And especially no matter what you do if you see someone surrounded by crumbled consecrated host, do not let them talk you into cleaning the dusty floor.

See Klaus again in Aguirre, The Wrath of God (1973) ASIN: 6305972761

Brilliant, but you might as well just get the boxset!
This loses a star, only because it's available in the Herzog-Kinski boxset, which is an absolutely essential purchase. So why should you own three copies of this film?

How does that make three copies? Well, this is where this release redeems itself: you can watch it in original german on disc one, or in the english language version that they filmed alongside it on disc two. Apart from this, there's not much point in buying this is you've got the box set, especially considering that the German version is better.